LSMD PIANO SYLLABUS draft 2_Layout 1

Introductory Grade

Primary Grade

Preparatory Grade

Grade 1

Grade 2

Grade 3

Grade 4

Grade 5

Grade 6

Grade 7

Grade 8

Recital Medal Repertoire

Piano Duets

Appendix 1 - Choice Piece

Appendix 2 - Teaching Notes

Appendix 3 - The Exam

Appendix 4 - From the Examinerʼs Desk

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The Leinster School of Music & DramaPianoforte Grade Examination SyllabusC contents

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SEPTEMBER 2012

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The Leinster School of Music & DramaPianoforte Grade Examination Syllabus

History of The Leinster School of Music & Drama

The Leinster School of Music and Drama was founded in 1904 by Samuel Myerscough, an acclaimed musician,teacher and examiner. Its primary function was to provide education in music to as wide a population as possible.

The School soon became one of the leading organisations for music education throughout Ireland. According to theIrish Art Handbook of 1949 the School had “become one of the most important influences on the musical life of thecountry as a teaching, examining body”. The LSMD is steeped in history, and its early teaching staff included theesteemed piano tutors Patricia Read and May Cosgrave, sister of William T. Cosgrave. Amongst its famous studentswas Samuel Beckett who mentions the School in his writings:

�She beckoned to him with her middle finger,like one preparing a certificate in pianoforte…

at the Leinster School of Music.�Samuel Beckett

The School’s original location was on Harcourt Street which was followed by a move to Upper Stephen Street in 1982.A major step forward took place in 1998 when the School moved to the Griffith College Campus on South CircularRoad where it is a constituent School of the College.

As a national examining body the LSMD offers grade and diploma examinations in both Music and Drama. As part ofits centenary celebrations the School launched the annual Excellence Awards in 2004. Students are selected tocompete for these prestigious awards on their performance at the annual examinations. The finalists perform at agrand finale in October each year when the overall winners in Music and Drama are announced.

In keeping with the School’s affiliation to Griffith College two new Higher Diplomas in Arts in Music and DramaEducation were validated by HETAC in recent years. These new programmes compliment the Associate and LicentiateDiplomas which have been in existence for a long number of years.

The School has just launched its new music syllabus which reflects the demand for a broader appreciation of themany facets of the art, reaching out to a new generation of musicians who will be the teachers of the future. Thisnew syllabus is valid from September 2012.

Vision StatementInspiring life-long, creative and fulfilling participation in music.

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General Information

This handbook is designed to help clarify the requirements of the new syllabus. Teachers should at all times consultthe syllabus for the requirements such as scales, sight reading and aural tests.

This syllabus has been framed taking into account current educational thinking and research, and provides asystematic progression through the grades in preparation for Diploma examinations at a later stage.

This syllabus works in conjunction with the studies, exercises, sight reading and aural tests in the Piano GradeSyllabus & Teachers Handbook (available in hard copy and online at www.gcd.ie/music-syllabuses).

Exam Regulations

• Grade examinations are marked out of 100 and candidates must secure 65 marks overall to pass. Candidatesscoring 87 marks or over will be awarded 1st class honours, 80 to 86 will be deemed to have passed withhonours and 70 to 79 will be deemed to have passed with merit.

• A medal will be awarded to a candidate who has gained 95 marks or more overall in any grades fromPreparatory to Grade 8.

• In all examinations, prepared pieces may be heard in full or in part at the discretion of the examiner.

• Candidates must adhere strictly to the repertoire in the syllabus. Where there is an own choice option, thisapplies to one piece only of the programme. If this chosen piece is not at the relevant grade level 5 pointswill be deducted.

• The editions listed in the syllabus are suggested editions. Alternative editions of similar standing are equallyacceptable. However, easier arrangements of the same pieces will not be accepted.

• Candidates are not compelled to adhere to the fingering indicated in any of the pieces. Any appropriatefingering will be accepted.

• Scales should be fingered in accordance with recommendations. At examinations marks will be deductedfor inappropriate fingering

• No photocopied music is allowed at any time, except for awkward page turns.

• Candidates presenting themselves for examination in any 2012 session may present either the old or thenew syllabus. From January 1st 2013 only the new syllabus will be accepted.

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Rationale for the New Syllabus

In 2004 the Leinster School of Music and Drama celebrated its centenary with an update of its syllabus. The pastdecade has seen an explosion in the understanding of musical ability and learning; it was felt that the time had comefor a further review of the content and the introduction of some new ideas to meet the needs of the new decade.Following consultations with a variety of teachers and examiners the new syllabus has been launched, taking intoaccount the many views expressed by interested parties. Above all, the new syllabus recognises that not all learnersare the same, and takes into account the capacity of teachers at local level to assess and cater for individual learnerneeds.

The new programme has a number of innovative ideas:

• The repertoire has been broadened to include a wide rage of contemporary genres. This reflects the broaderacceptance of styles other than classical pieces in music teaching and learning.

• Recent research in the areas of teaching and learning indicates that students are motivated by appropriatechoice in their own learning. With this in mind it has been decided to include a choice option for theperformance pieces. It has also been decided to give students further choices in the higher grades relatingto developing their technical skills and musicianship.

• Aural awareness has been remodelled with the objective of developing a critical ear which can discern variousaspects of performance. Students will study time names at the earlier grades which will develop their rhythm,and in turn, enhance their aural and sight reading skills. The French, Kodaly and Orff time name systems arerecommended but others will also be accepted.

• Bearing in mind that some students wish to become independent musicians as well as progressing throughthe grade system, the option of improvisation/keyboard harmony has been introduced at the higher grades.This will support their participation in musical environments outside of the class room or lesson.

• Students at a higher grade are expected to research composers and their works as part of their exam whichis also reflective of the information age we live in.

A broad list of repertoire has been included to suit all levels and tastes. Through this new syllabus, the Leinster Schoolof Music and Drama intends to continue to provide a supportive environment to enhance the development of musiceducation for both teachers and students in the years ahead.

Marking scheme for all pianoforte exams

(a) Technical studies 15

(b) Sight reading & comprehension 15

(c) Aural observation 10

(d) Performance (3 x 20) 60

65 – 70 Pass

70 – 79 Merit

80 – 86 Honours

87 – 100 First Class Honours

Mark Award

The Leinster School of Music & Drama is delighted to announce the launch of a Higher Diploma in Arts in Music Education, and associated Certificates in Music Teaching.

Your music studies need not stop at Grade 8! These HETAC approved (Level 8) will enable instrumental students to embark in a wide range of careers in music education, or progress to further education in music technology, music therapy, arts administration and music teaching.

Courses Higher diploma in Arts in Music Education (HETAC Level 8) Certificate in Music Teaching – HETAC 40 credits (Licentiate of the LSMD) Certificate in Music Teaching – HETAC 20 credits (Associate of the LSMD)

A range of options are open to you… Taught options in Dublin and Cork Full-time and part-time delivery modes A choice of morning and evening lectures,

combined with block release

For further information contact:The Leinster School of Music & Drama, Griffith College South Circular Road, Dublin 8

Email: [email protected] | Web-site: www.gcd.ie/lsmdPhone: (01) 4150466 (Dublin) | (021) 4507027 (Cork)

Hitting a Higher Note! at GRIFFITH COLLEGE

Higher diploma in Arts in Music Education

Established in 1904

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Introductory GradeAims for the Teacher

To introduce the student to the pleasure of playing music, instillinga love and enthusiasm for all aspects of the process, and layingsound foundations through the development of aural, reading,technical and performance skills at an elementary level.

Learning Outcomes for the Student

• Understand the basics of notation and recognise notes in the treble and bass clefs.• Have a proper hand position in both hands and be able to play legato and staccato.• Acquire a proper seated position.• Understand elementary rhythmic patterns, including crotchets, quavers and minims.• Sing very simple melodic motifs.• Be able to perform a selection of pieces at introductory level.

Course Content:(a) Technical Studies:

• Scales of C and G major, one octave hands separately.• Chords of C and G major (refer to Teachers’ Handbook)• Five finger exercise, hands together over middle C.

(refer to Teachers’ Handbook)

(b) Sight reading and Comprehension:

• Understanding the treble and bass clefs. • Identifying and locating notes from prepared pieces in treble and bass clefs. • Answer simple questions on bar lines, note and rest values in the prepared pieces.

(c) Aural Observation:

• To recognise two notes played by the examiner as being either ascending or descending (rising or falling,up or down)

• Identifying a short phrase from one of the prepared pieces.• To clap back a short rhythm played twice by the examiner. • To sing back a short sequence of notes played twice by the examiner.

(for examples of aural observation tests refer to Teachers’ Handbook)

Technical Studies 15

Sight-Reading & Comprehension 15

Aural Observation 10

Pieces 1 20

2 20

3 20

SCHEDULE OF MAXIMUM MARKS

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(d) Performance:

Three pieces from the following list:

Music Lessons Have Begun The Duckling(Lelia Fletcher, Boston Music Company) Campfire March

Canoe SongHalloween PumpkinEvening Hymn*What shall I sing?*

Piano Time Pieces 1 Morning Has Broken*(Pauline Hall, Oxford University Press) Frog Count

Grass So Green

John Thompson Easiest Piano Course Theme from the Creation (John Thompson, Willis Music Company) Minuet in G

Sonatina Can-Can

Teach me to Play. Preliminary Book Our Old Clock(Howard Kasschau, Schirmer) My Prayer

Ice Cream Mountain

Teaching Little Fingers to Play Paper Ships*(John Thompson, Willis Music Co.) Toy Soldiers*

*These Pieces are recommended for the very young beginner

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Primary GradeAims for the Teacher

To build on the foundational skills acquired at introductory level,through broadening repertoire, and facilitating the incrementaldevelopment of aural, reading, musicianship and technical abilitiesat primary level.


• Understand notation in both staves and up to one ledger line above and below each stave.• Demonstrate a basic knowledge of time names (crotchet, quavers and minims). French, Kodaly, Orff or other

time name systems will be accepted.• Perform a selection of pieces of suitable standard, in the keys of C, G and F majors, and A minor.• Sing simple melodic phrases in the range of a 5th.• Demonstrate an awareness of dynamic contrasts.

Course Content:

(a) Technical Studies:

Scales metronome mark: crotchet = 60 (approx.) 2 quavers per beat.

• Scales of C, G, F majors, one octave hands separately. Chords of the above keys in close position, hands separately(refer to Teachers’ Handbook)

• Preparation of four musical sentences from a recommended list (refer to Teachers’ Handbook). Candidateswill be required to perform one of the musical sentences at the examination.


• Understanding the treble and bass clef and one ledger line above and below both staves together with thesharp and flat.

• Explaining bar lines, time signatures, note values and marks of expression in the prepared pieces.• Understanding the difference between a tone and semi-tone, and pointing out the tones and semi tones in

the scale of C major.


• To clap at sight a two bar phrase consisting of crotchets, quavers and minims using time names. French,Kodaly, Orff or other time name systems will be accepted.

• To clap back a short phrase played by the examiner.• Sing back a two bar phrase played twice by the examiner.





Pieces 1 20

2 20

3 20


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(d) Performance:

Three pieces from the following list

Piano Time Pieces 1 Turpin(Pauline Hall, Oxford University Press) Martian’s March

A Chat between FriendsCheerful Cha-Cha

Teaching Little Fingers to play more Shall We Waltz(Leigh Kaplin, Willis Music Company) The Swing

More Upgrade 0 – 1 Bits and Pieces(Pamela Wedgewood, Faber Music) Beefburger Boogie

First Piano Lessons – Scenes at a Farm On the Lake(Walter Carroll, Forsyth) May Day Dance

(without repeats)

First Year Pieces – Work and Play Melody in C(Thomas F Dunhill & Felix Swinstead) The Sheep on the Downs

Gavotte

Piano Time Jazz, Book 1 Marching in again(Pauline Hall, Oxford University Press) Hop, Skip and Jump

Roundabout – 16 easy Pieces for Piano Merry-go-round(ABRSM) Rocking Chair

The Haunted HouseLittle Mouse

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Preparatory GradeAims for the Teacher

To consolidate the student’s foundation in elementary technique,musicianship, reading and aural skills, in preparation for progressingon to grades 1-8.


• Recognise notes in the treble and bass clefs up to one ledger line above and below the stave, or any notesin the chosen pieces.

• Sight-read short phrases, hands separately, beginning on middle C.• Clap rhythms by ear and sight, using time names (crotchet, quavers, minims and crotchet rests). French,

Kodaly, Orff or other time name systems will be accepted.• Perform a selection of pieces of suitable standard in the keys of C, G and F majors, and A minor.• Demonstrate an awareness of dynamic range

Course Content:


• C, G and F majors, A and D minors, one octave hands separately. • Three note close position chords of the above keys hands separately (refer to Teachers’ Handbook).• Preparation of two musical sentences (refer to Teachers’ Handbook).


• Recognizing time signatures, key signatures and expression marks in the prepared pieces.• Sight reading a short passage containing mainly stepwise movement over the five fingers, right hand and

left hand separately, both positioned on middle C.• Construction of the major scale, identifying tones and semi-tones, in the scales of C and G.


• To clap at sight a short phrase in 4/4 using time names (minims, crotchets, quavers and crotchet rests).French, Kodaly, Orff or other time name systems will be accepted

• Sing back a short melody played by the examiner within the range of a 5th• To clap along to a short passage played by the examiner in 2/4 or 3/4.


(d) Performance:




Pieces 1 20

2 20

3 20


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Three pieces from the following list.

Piano Time Pieces 1 Promenade(Pauline Hall, Oxford University Press) Witch’s Lair

First Year Pieces – Work and play Resting(Thomas F Dunhill & Felix Swinstead) Up with the Lark

The Old Wind MillA Sad Story Swaying Branches

Piano Time Jazz, Book 1 Coconut Calypso(Pauline Hall, Oxford University Press)

Roundabout – 16 easy pieces for Piano Petite Valse (Alan Haughton, Associated Board) Ballerina

Up Grade –0-1 Make Way for the King(Pamela Wedgewood, Faber Music) Apple Pie Waltz

Piano Time Pieces 2 Minuet (Reinagle)

(Pauline Hall, Oxford University Press) Allegro Grazioso (Gurlitt)

Feeling Fine (Bullard)

Gigue (Olive J Wood)

Step by Step to the Classics – Book 1 Bouree (Le Coupe)

(Felix Swinstead, Banks Music Publication) Folk Tune (arr. Mozart)

Musical Box (Berens)

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Grade 1Aims for the Teacher

To foster enthusiasm for music, and to encourage the student todevelop the practical and technical skills to perform at this level. Tobroaden the student’s exploration of performance, listening, andmusicianship, through the introduction of new repertoire including classical, jazz and contemporary.


• Be able to perform pieces over a wide range of the keyboard.• Play at least one of the pieces from memory (optional).• Understand the concept of major and minor keys.• Sight read a short piece using both hands, but with mainly hands separate movement, in keys up to one

sharp or one flat,• Sing a short phrase after hearing it, and be able to identify the difference between 2/4 and 3/4.

Course Content:


• Scales of C, G, D, A and F majors. A and D minors, two octaves hands separately and one octave handstogether.

• Contrary motion one octave in the keys of C and G majors. • Three note broken chords and inversions of C and G majors, A and D minors. (refer to Teachers’ Handbook).


• To sight read a short passage with each hand separately in the key of C or G • To answer questions on dynamic and performance directions in the prepared pieces. • Identifying various Intervals in the prepared pieces up to and including a 5th, which will include a major 2nd,

major 3rd. perfect 4th and perfect 5th.


• To clap a rhythm at sight in 4/4 using time names (minims, crotchets, quavers, semiquavers, minim andcrotchet rests). French, Kodaly, Orff or other time name systems will be accepted.

• To clap back the rhythm of a melody played twice by the examiner. • To sing back a short melody played twice by the examiner. • To identify the time of a short piece played by the examiner as being in either 2/4 or 3/4.





Pieces 1 20

2 20

3 20


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(d) Performance:

Performance of three pieces, as least two of which must be from the attached list. The third piece may alsobe selected from the list or may be the candidate’s own choice, which must be of at least equal standard tothe pieces on the prescribed list (please see guidelines for own choice piece in Appendix 1).

Young Pianists Repertoire Book 1 Nannerl’s Minuet (Mozart)

(Fanny Watermann & Marion Harewood, Faber Music) Waltz (Shostakovitch)

Piano Time Pieces 2 Tarantella (Hall)

(Pauline Hall, Oxford University Press Gavotte (James Hook)

The Best of Grade 1 Piano Sonatina No. 3 in F (Atwood)

(Faber Music) Quasi Adagio (Bela Bartok)

Air (John Blow)

Creepy Crawly (Peter Gritton)

Piano Piece for the Young (Heinrich Henkel)

Eeyore’s March (Tim Jackson)

Allegretto (Chriptoph Neefe)

Gavotte (Georg Telemann)

Up Grade 1 – 2 Mad Hatter’s Funeral March(Faber Music) Cool Calypso

Swinging Rhymes Three Blue Mice(Terence Greaves, ABRSM) Baa, Baa, Blue Sheep

Step by Step to the Classics A little Piece (Schumann)

(Felix Swinstead, Banks Music Publication) Allegretto in F (Berins)

Polonaise (Richard Jones)

Micro Jazz Collection I, Level 3 Tut-Tuttin(Christopher Norton, Boosey and Hawkes) A Winter Song

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To continue to inspire a love of music making. through a learnercentered approach to performance. To encourage the student toengage as a participant in his or her own musical developmentthrough fostering their technical and musicianship skills i.e. through cultivating and encouraging practice routineswhich are required for increased technical and musical development.


• Be able to perform pieces over a wide range of the keyboard in different styles• Be able to perform at least one of the pieces from memory.• Understand major and minor tonalities.• Sight-read using both hands together in the keys of C, F and G. • Demonstrate greater aural awareness in responding to aural stimuli and identifying aspects of pieces

performed.

Course Content:


• Scales of D, A, E, B and F majors, E, D and B minors, 2 octaves hands together. • Contrary motion one octave in the keys of D, A and E majors, and D and E minors, beginning and ending on

the key note.• Chromatic scale beginning on C and C sharp, one octave hands separately.• Arpeggios of the above keys, major and minor, two octaves, hands separately


• To sight read short passages, hands together, in the keys of C, G or F major.• To answer questions on dynamic and performance directions in the prepared pieces.• To identify major and minor chords (root position) in the prepared pieces.• To give a short description of the candidate’s favourite piece of the three performed. Questions will relate to

the style of the piece (classical/popular/jazz etc.) and the reasons for their choice.


• To clap back the rhythm of a short melody in 2/4, 3/4 or 4/4 played twice by the examiner and to statewhether it was in 2/4, 3/4 or 4/4.

• To sing back a short melody played twice by the examiner.• To listen to two notes played by the examiner, separately and together, and identify the interval as major 2nd,

major 3rd, perfect 4th or perfect 5th.




Pieces 1 20

2 20

3 20


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• To listen to a short piece played by the examiner and identify obvious features i.e. whether the piece wasplayed forte or piano, legato or staccato, with a rall at the end etc.


(d) Performance:

Performance of three pieces, as least two of which must be from the following list. The third piece may alsobe selected from the list or may be the candidates own choice, which must be of at least equal standard tothe pieces on the prescribed list (see guidelines for own choice piece in Appendix 1).

Young Pianist Repertoire, Book 1 Waltz of Beauty and the Prince (Maurice)

(Fanny Watermann & Marion Harewood, Faber) Old French Song (Tchaikovsky)

Music through Time, Book 2 Tarantella (Burgmuller)

(Pauline Hall, Paul Harris, Oxford University Press)

Up Grade, Grades 1 & 2 Homework Blues(Pamela Wedgewood, Faber) Charleston

Short Romantic Pieces for Piano, Book 2 Clowning (Kabalevsky)

(ABRSM)

Music through Time, Book 1 Swinging Along (Muller)

(Pauline Hall, Paul Harris, Oxford University Press) Night Journey (Gurlitt)

More Classics to Moderns 2 Bagatelle (Diabelli)

(Yorktown Music Press) Sonatina (Salutrinskaya)

Making the Grade,Grade 2 Jean de Florette Theme (Petit)

(Chester Music) Clocks

Young Pianists Repertoire, Book 2 Two pieces for Musical Clocks (Haydn)

(Faber Music) Sonatina, 1st movement (Clementi)

Short Romantic Pieces for Piano, Book 1 Study in A minor (Beyer)

(ABRSM Prelude (Reinecke)

Waltz (Dyson)

Hours with the Masters Pre Grade 2 Andantino (Mayer)

(Bosworth) Minuet and Trio (Haydn)

Cool Piano, Book 2 Tick Tock Tango(Kevin Mayhew)

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To continue the student’s development in performance and tobroaden further their understanding of various musical styles. Tofurther cultivate the skills required for independence as a musician,including playing by ear, memorizing, sight-reading, musicianship and technical skills.


• Be able to perform a wide repertoire of pieces of a suitable standard to a high level of musicality.• Be able to perform at least one piece from memory.• Demonstrate a good understanding of major, minor and chromatic scales.• Sight-read hands together in major and minor keys up to one sharp and one flat.• Demonstrate an ability to respond to rhythmic and melodic stimuli and be able to identify the musical features

of a previously unheard piece of music.

Course Content:


• Scales of B, F, B flat, E flat, A flat majors, G and C harmonic minors, two octaves hands together.• Scales of D, A and F majors, G and C minors, in contrary motion two octaves.• Arpeggios of the above major and minor keys, two octaves hands together. • Chromatic scale beginning on B and B flat, two octaves hands together


• To sight read a short passage hands together in the keys of C, G or F major, A or D minor.• To answer general questions on the pieces prepared for performance i.e. dynamics, articulation, mood etc.• To discuss a few short points on the style of one of the pieces (classical, jazz, popular etc.) relating particularly

to its musical features i.e. rhythm etc. • To identify major and minor chords root position in the prepared pieces.


• To clap back the rhythm of a short phrase played twice by the examiner, and to state whether the extract isin 3/4, 4/4 or 6/8.

• To sing back a short melody played twice by the examiner• To identify major and perfect intervals up to an octave, plus the minor 3rd. These intervals will be played

separately and together. • After hearing a short piece played twice by the examiner, to comment on musical features such as major or

minor tonalities, dynamic variations, articulation etc.





Pieces 1 20

2 20

3 20


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(d) Performance:

Performance of three pieces, as least two of which must be from the attached list. The third piece may alsobe selected from the list or may be the candidate’s own choice, which must be of at least equal standard tothe pieces on the prescribed list.

Keyboard Anthology Third Series, Book 2 Sea Pink (Gurlitt)

(ABRSM)

Keyboard Anthology Second Series, Book 2 Allegro in F (Mozart)

(ABRSM) The New Doll (Tchaikovsky)

Classics to Modern Book 3 Melody (Khachaturian)

(Yorktown Music Press) Puppets Complaint (Franck)

Making the Grade Book 3 If I were a Rich Man (Bock)

(Chester Music) Schindler’s List (John Williams)

Up Grade, Grades 1– 2 Half-a-Minute Waltz(Pam Wedgewood, Faber) Hubble Bubble

Sound Works Series CanonPick up pieces for Young Pianists, 1994 The Sad Boy(Philip Martin, Contemporary Music Centre)

Clementi Edition Peters Sonatine OP. 36 No. 2 (2nd movement)

Short Romantic Pieces for Piano Book 1 A Fairy Story (Kullak)

(ABRSM) Night in the Woods (Gedike)

Cool Piano 3 – Heather Hammond That’s the way to jazz it(Kevin Mayhew) The Railroad Blues

Hours with the Masters Book 2 Minuet and Trio (Mozart)

(Bosworth) Scherzo (Bertini)

Diversions Diversions No. 1 or 4(Richard Rodney Bennett, Universal)

Piano Time Jazz Book 2 Tango Argentina(Pauline Hall, Oxford University Press)

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To continue the student’s development in performance and tobroaden further their understanding of the various styles of music.To facilitate the student to work increasingly on their own initiativeand develop a discerning ear to self evaluate their own performance.

Learning Outcomes for the Student• Be able to perform pieces appropriate for this level in a number of styles and to a high level of musicality.• Demonstrate a strong level of technique to underpin performance at this level.• Be able to read competently at sight a short piece in a major key up to two sharps or flats, and the keys of

A, E and D minors.• Be able to listen to a piece and to note and comment upon different facets of the performance.• Be able to detect inaccuracies in performance and know how to rectify them.

Course Content:


• Scales of B flat, E flat, A flat D flat and F sharp majors. F, F sharp and B flat minors, two octaves handstogether.

• Contrary motion B flat, F and F sharp majors, B and F minors, two octaves, hands together.• Chromatic scale beginning on any note, 2 octaves hands together.• Arpeggios of the above major and minor keys, two octaves hands together.


• To sight read a short passage hands together in the keys of C, G, D, F or B flat major, A, E, or D minor.• To answer general questions on the pieces prepared for performance i.e. dynamics, articulation, mood, tonality

etc.• To provide some background information on the composers of the prepared pieces. These will be short

questions relating to their dates, birthplace and better known works. • To identify chords and intervals in the prepared pieces.


• To clap a four bar rhythm played twice by the examiner in simple or compound time. This will be either in2/4, 3 /4, 4/4 or 6/8.

• To sing back a short melody played twice by the examiner• To recognise a rhythmic or melodic change in a short phrase played by the examiner.• After hearing a piece played twice by the examiner, to comment on whether the piece is in a major or minor

key and the variation of dynamics generally.(for examples of aural observation tests refer to Teachers’ Handbook)




Pieces 1 20

2 20

3 20


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(d) Performance:

Performance of three pieces, at least two of which must be from the following list. The third piece may alsobe selected from the list or may be the candidate’s own choice, which must be of at least equal standard tothe pieces on the prescribed list.

Classics to Moderns Bk. 3 Sonata in G (Scarlatti)

(Yorktown Music Press) Minuet (Haydn)

Keyboard Anthology Series 3, Bk. 2 Air (Hook)

(ABRSM) Presto (Mozart)

Scherzando (Camidge)

Short Romantic Pieces for Piano Bk. 2 Jumping Jack (Nielsen)

(ABRSM)

Keyboard Anthology, Series 1 Bk. 2 Watchman’s Song (Greig)

(ABRSM) Study in A flat (Heller)

Keyboard Anthology, Series 2, Bk. 2 Aria (Telemann)

(ABRSM) Gigue (Hummel)

Album for the Young – Schumann Knight Rupert

Micro Jazz Collection 3, level 5 Take your time(Boosey and Hawkes) Wombling

Kabalevsky: 30 Children’s Pieces Op. 27 Toccatina(Boosey and Hawkes)

Hours with the Masters, Bk. 2 Scherzo (Muller)

(Bosworth) Gavotte (Purcell)

Making the Grade, Grade 4 I Dreamed a Dream(Chester Music)

Making the Grade, Grade 3 On My Own(Chester Music)

SoundbitesAlbum of Pieces for young Pianists Allegro (Mary Kelly)

(Contemporary Music Centre)

More Rhythm and Rag Baroque and Roll(Alan Haughton, ABRSM)

Lyric Pieces Fairy Dance (Greig)

Poetic Tone Picture Op. 3, No 6 (Greig)

(ABRSM)

Cool Piano, Bk. 3 Dixieland Dandy (Hammond)(Kevin Mayhew)

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To consolidate the student’s technical, aural, reading andmusicianship skills with a view to confident performance and anincreasing ability to work independently. To develop the student’sself-confidence as a musician and self efficacy as a learner, and to nurture an interest in taking on more challengingrepertoire.


• Be able to perform pieces of a high standard to include works by some of the old masters.• Have a broad repertoire which may include film music and contemporary writing.• Demonstrate a competent technique to tackle works of a higher standard.• Demonstrate a competence in sight reading to enable them to work on their own initiative.• Demonstrate an understanding of cadences and other harmonic terms, particularly in relation to the performed

repertoire.

Course Content:


Scales metronome mark: crotchet = 72 (approx.) 4 notes per beat.

• Scales of G, D, B, F sharp and C sharp, major and harmonic minor, 3 octaves hands together in similar motion• Scales of F sharp, A flat and B flat major and harmonic minor in contrary motion two octaves.• Scales of A, E and D melodic minors, 3 octaves, hands together• Chromatic scale beginning on any note, 3 octaves hands together.

Arpeggios metronome mark: crotchet = 60 (approx.) 4 notes per beat.• Major and minor arpeggios of the above keys, three octaves in root position, hands together.


• To sight read a piece of moderate difficulty, hands together in any major or minor key up to three sharps orthree flats.

• To answer general questions on the pieces prepared for performance. i.e. dynamics, articulation, style, tonality,mood, key etc.

• To identify chords, intervals and cadences (perfect and Imperfect) in the prepared pieces.• To give a short background on the composers of the prepared pieces e.g. date and place of birth, type of

compositions etc.


• To clap a four bar rhythm of suitable standard played twice by the examiner and state the time signature 2/4,3/4, 4/4 or 6/8.




Pieces 1 20

2 20

3 20


21


• Having identified the time signature the candidate will be asked to identify note values within one of the bars. • To recognise a rhythmic or melodic change in a four bar phrase played twice by the examiner with the change

being made in the second playing.• To identify certain features of a piece played by the examiner. The features will be confined to dynamics (p,

f etc.) gradation of tone (cres., dim. etc.), articulation (staccato or legato), tempo changes and recognition ofmajor and minor tonality.


(d) Performance:

Performance of three pieces, as least two of which must be from the following list. The third piece may alsobe selected from the list or may be the candidate’s own choice, which must be of at least equal standard tothe pieces on the prescribed list.

More Rhythm and Rag Hoedown(Alan Haughton, ABRSM) Bread and Butter

Micro Jazz level 5 collection 3 A Brief TangoHungarian Stomp

SoundbitesAlbum of Pieces for young Pianists Berceuse for Young Pianists (Brian Boydell)

(Contemporary Music Centre) 5th January 1981 (Paul Hayes)

Hours with the Masters, Book 4 Prelude in C (Purcell)(Bosworth) 2 Part Invention No. 4 (Bach)

Heller, 25 Studies Op.47 No. 12 in B minor(Banks Music Publications) No. 13 in B flat major

No. 19 in C major

Hours with the Masters, Book 2 Rondo from Sonata in C K545 (Mozart)(Bosworth)

Cool Piano, Book 5 Reflections in Blue (Hammond)

(Kevin Mayhew) Long Lost Love (Hammond)

More Classics to Moderns 5 Scherzo (Kabalevsky)

(Yorktown Music Press) Allegro Giocoso (Haydn)

Making the Grade, Grade 5 When I’m Sixty Four(Chester Music)

Short Romantic Pieces for Piano Bk. 2 Grandma tells a Ghost Story (Kullak)

(ABRSM) The Evening Bell (Granados)

Keyboard Anthology Third series, Bk. 3 Gavotte from French Suite No. 4 (Bach)

(ABRSM)

Keyboard Anthology, First Series, Bk. 3 Corrant Suite in B flat (Handel)(ABRSM)

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To nurture the interest and self-discipline required to perfectperformance at this level. To broaden the student’s musicality withthe development of aural training, improvisation and keyboardharmony. Also to ensure a high level of sight reading ability to enable the student to study more demanding works ontheir own. This is to encourage the student to experiment and explore musically.


• Be able to perform pieces at Grade 6 level, to include some major works by some of the old masters.• Be able to perform works by contemporary composers and have a knowledge of the background of these

composers.• Demonstrate the technical competence to underpin performance at this level.• Demonstrate a competence in sight reading to enable them to work on their own initiative.• Demonstrate a good understanding of cadences and triads, and their application to keyboard harmony.

Course Content:


Please note that at this grade candidates may choose (i) Scales OR (ii) Graded piano studies to fulfill therequirements for technical studies.

(i) Scales:


• Keys of C, D, E, F sharp, A flat and B flat major, harmonic and melodic minor scales, 4 octaves hands together,legato and staccato.

• Major and harmonic minors of the above keys in contrary motion 2 octaves, beginning on the key note, legatoonly.

• C and G major and harmonic minors in 3rds, 2 octaves, hands together legato only.• Chromatic scales beginning on any note, 4 octaves in similar motion, legato only. And in contrary motion

beginning on D or A flat, two octaves, legato only.

Arpeggios metronome mark: crotchet = 72 (approx.) 4 notes per beat.

• Major and minor arpeggios of the above keys in root position and 1st inversion in similar motion, 4 octaves,legato.

• Dominant 7ths in the keys of C, D and E (beginning on G, A and B respectively) in root position, 2 octaveshands together.

• Diminished 7th in the key of C# (beginning on C) similar motion, 2 octaves hands together.



Aural Observation/Keyboard Skills 10

Pieces 1 20

2 20

3 20


23


(ii) Graded piano studies:

As an alternative to the scales and arpeggios, candidates can present two of the following studies.

• Study in Broken Chords, Op. 38 No. 8 Stamaty (Graded Piano Studies, First Series, Grade 6, ABRSM)

• Study in Lightness and Grace Op. 20 No. 24 Le Couppey(Graded Piano Studies, First Series, Grade 6, ABRSM)

• Study Op. 299 No. 18 Czerny(Graded Piano Studies, First Series, Grade 6, ABRSM)

• Study Op. 33 No. 9 Bennett(Graded Piano Studies, First Series, Grade 6, ABRSM)

• Study Op. 46, No. 23 Heller(Graded Piano Studies, First Series, Grade 6, ABRSM)

• Prelude No. 30 from Op. 119 Heller(Heller, 23 Miscellaneous Pieces, ABRSM)

• Five Jive Cornick(Piano Studies in classical, jazz and popular styles, Intermediate level, Universal Edition)

• Ragtime Cornick(Piano Studies in classical, jazz and popular styles, Intermediate level, Universal Edition)

• Scalic Cornick(Piano Studies in classical, jazz and popular styles, Intermediate level, Universal Edition)

• Chiefly Chromatic Kember(Jazz Piano Studies, Faber Music)

• Rags to Riches Kember(Jazz Piano Studies, Faber Music)

• Blues 5 Haughton(More Rhythm and Rag, ABRSM)


• To sight read a piece of a degree of difficulty suitable to this grade, hands together in any major or minor key.• To answer general questions on the pieces prepared for performance i.e. time signature, dynamics etc.• To identify chords in root position, or inversion, plus intervals or cadences (perfect or interrupted only).• To give a short background on the composers of the prepared pieces e,g, date and place of birth, type of

compositions etc.

(c) Aural Observation OR Keyboard Skills:

Candidates may choose (i) Aural Observation or (ii) Keyboard Skills to fulfil the requirements ofsection (c).

(i) Aural Observation

• To clap a four bar rhythm of suitable standard played twice by the examiner and state the time signature 2/4,3/4, 4/4 or 6/8.

• To identify time values within the same passage.

24


• To recognise a triad as major or minor, root position or 1st inversion• To recognise a cadence as either perfect or interrupted.• Observation test on a piece played by the examiner. Questions may include tempo, tempo changes, dynamics,

gradations of tone, articulation and recognition of tonality as major or minor.

(ii) Keyboard Skills

Candidates may select the following test at the keyboard as an alternative to the aural tests in (c):

• To indicate suitable chords for a series of 5 notes in the treble stave at the keyboard, in the keys of C, G, Dor F major.

• To harmonise a perfect or interrupted cadence in the key of C, G, D or F major.• To compose an answering phrase to a given two bar melody in the key of C or G major at the keyboard.

(for examples of aural observation and keyboard skills tests refer to Teachers’ Handbook)

(d) Performance:

Performance of three pieces, at least two of which should be from the following list. The third piece may bealso taken from the list, or may be a piece of similar standard of the candidate’s own choice.

Air from French Suite No. 4 in E flat BachFantasia in C HandelHours with the Masters, Volume 5

Allegro in G minor, Suite No. 7 HandelKeyboard Anthology, 2nd Series, Book 4 (ABRSM)

Capriccio in G minor (No. 9) HandelAlbum for the Piano Vol. 43 (Schirmer)

Allemande, First movement from French Suite No.3 in B minor BachBWV 814

Le Coucou (Rondeau) Daquin

Scherzando (2nd. Movement) Sonata in C sharp minor HaydnHOB XV1/36

Keyboard Anthology, 3rd series, Bk.4 (ABRSM)

Gondolier’s Song, Op. 109, No. 14 BurgmullerMore Romantic Pieces for piano, Book 4 (ABRSM)

Prelude in C minor, Op.28, No. 20 Chopin

Mazurka in G minor, Op.67, No. 2 Chopin

Mazurka in B flat major, Op.7 No 1 Chopin

25


Six Variations on a Swiss Song Beethoven

The Sail Round the Rocks Dorothy ParkeFive Traditional Irish Airs

Galop (Finale) CasellaAlfredo Casella, Children's Pieces (Universal Edition)

The Sea is Angry Wiliam Alwyn20th Century Real Repertoire Grades V to VII

The Top Neilsen20th Century Real Repertoire Grades V to VII

The Buccaneer Malcolm Arnold20th Century Real Repertoire Grades V to VII

Bagatelle in C, Op. 119 No. 2 BeethovenKeyboard Anthology, 3rd Series Book 4

Les Petit Moulins a Vent CouperinKeyboard Anthology, 3rd Series Book 4

Waltz in B major, Op. 39 No. 15 BrahmsMore Classies to Modern Book 5

Despertar del Cazador GranadosKeyboard Anthology, 2nd Series Book 4

Lorca’s Last Walk Brent ParkerThree Spanish Pieces

Four Calling Birds No. 4 BennettPartridge Pie, Book 1

Valse No. 6 Op. 6 ProkofievMusique D’Enfants (Boosey and Hawkes)

26



To achieve a high standard of performance suitable for this level. Tobroaden the student’s skills in musicality with further developmentof aural training, improvisation and keyboard harmony. Also toensure a high level of sight reading to prepare them to study more demanding works on their own initiative.


• Be able to perform pieces on Grade 7 standard, including works from the old masters, demonstrating a highlevel of musical expression, and a clear understanding of musical style.

• Demonstrate a high standard of musical technique required for the performance of major works.• Demonstrate a competence in sight reading and analysis to enable them to work on their own initiative.• Demonstrate an understanding of triads and diatonic harmony, and an ability to apply it to the keyboard.• Recognise triads (and their inversions) and cadences aurally.• Be able to hear and sing back one voice of a two part piece.

Course Content:



(i) Scales:


• Keys of C sharp, E flat, F, G, A, and B major, harmonic and melodic minor scales, 4 octaves hands together,legato and staccato.

• Major and harmonic minors of the above keys in contrary motion 2 octaves, beginning on the key note, legatoonly.

• F, G, A and B majors a 3rd apart, and G and A majors a 6th apart, 2 octaves legato.• Chromatic scales beginning on any note, 4 octaves in similar motion, and in contrary motion beginning on

any white note, two octaves legato.


• Major and minor arpeggios of the above keys in root position, 1st and 2nd inversion. Similar motion, 4 octaveshands together.

• Dominant 7ths in the keys of C sharp and E flat (beginning on G sharp and B flat respectively) in root position,4 octaves hands together.

• Diminished 7ths in the key of C#, C and B flat (beginning on C, B and A respectively). Similar motion, 4 octavehands together.




Pieces 1 20

2 20

3 20


27


(ii) Graded Studies:


• Study Op. 44, No. 12 Clementi(Graded Piano Studies, First Series, Grade 7, ABRSM)

• Study Op. 740 No. 7 Czerny(Graded Piano Studies, First Series, Grade 7, ABRSM)

• Study Op. 44, No. 8 Clementi(Graded Piano Studies, First Series, Grade 7, ABRSM)

• Study Op. 740, No. 28 Czerny(Graded Piano Studies, First Series, Grade 7, ABRSM)

• Study Op. 45, No. 3 Heller(Heller 25 Melodious Studies, Op. 45, Edition Peters)

• Study Op. 45, No. 22 Heller(Heller 25 Melodious Studies, Op. 45, Edition Peters)

• Riff-Raff Kember(Jazz Piano Studies 2, Faber Music)

• Reflections Kember(Jazz Piano Studies 2, Faber Music)

• Into the Blue Kember(Jazz Piano Studies 2, Faber Music)

• Blues Variations Kember(The Jazz Piano Master, John Kember, Faber Music)

• Free and Easy Kember(The Jazz Piano Master, John Kember, Faber Music)

• Fantasy Haughton(More Rhythm and Rag, ABRSM)

(b) Sight Reading and Comprehension:

• To sight read a piece of a degree of difficulty suitable to this grade, hands together in any major or minor key.• To answer general questions on the pieces prepared for performance e.g. tonality, modulations, form etc.• To identify chords (roots and inversions) and perfect, imperfect and interrupted cadences in the prepared

piece.• To give a short background on the composers of the prepared pieces. e.g. date and place of birth, type of

compositions etc.




• To state whether a triad is major or minor and whether it is in root position, 1st or 2nd inversion. Threeexamples may be given.

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• To sing the upper part of a 2 part phrase played twice by the examiner. • To recognise the final cadence of a passage as either perfect, imperfect or interrupted.• To identify a melodic or rhythmic change in a short phrase played twice by the examiner.• Observation test on a piece played by the examiner. Question may include tempo, tempo changes, dynamics,

gradations of tone, articulation etc.


Candidates may select the following test at the keyboard as an alternative to the aural tests in (c):

• To harmonise a short melody at the keyboard in the keys of C, G, D or F major. • To harmonise a perfect, imperfect or interrupted cadence in the key of C, G, D or F major.• To compose an answering phrase to a given four bar melody in the key of C or G major at the keyboard.

(for examples of aural observation and keyboard skills tests refer to Teachers’ Handbook)

(d) Performance:

Performance of three pieces, two of which must be from the following list. The third piece may be taken fromthe list also, or may be a piece of similar standard of the candidates own choice.

2 Part Invention, No.13 in A minor Bach

Prelude No. 5, Bk. 1 in D major Bach

Polonaise No. 5 in E flat W.F. Bach

Andante from Sonata in B flat major K .281 Mozart

Sonata in C major, K.330 (2nd Movement) Mozart

Fantasy in D minor MozartKeyboard Anthology, 2nd Series, Book 4

Allegro Assai (2nd Movement from Sonata in G) No.14 Clementi

Sonata in C minor, Op.10 No.1 (first movement) Beethoven

Sonata in G, Op.49, No. 2 (second Movement) Beethoven

Sonata in D major, HOBXV1/14 (3rd Movement) Haydn

Sonata in G major, HOB16, No. 6 (Final Movement) Haydn

Sonata in G major, K.477 Scarlatti

Sonata in A major, K. 322, L 483 Scarlatti

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Spanish Dance (Minuetto from “Danzas Espanoles”) GranadosClassics to Moderns, Book 6

Les Clochetts Op. 34, No.6 Gliere

Poetic Tone Picture Op. 3, No. 1 GreigA Keyboard Anthology, 3rd series, Bk. 4 (ABRSM)

Notturno Op. 54 Greig

Toccatina Reizenstein20th Century Real Repertoire

Minuet (from “A Downland Suite”) John Ireland

Jack in the Box, No. 139 Mikrokosmos, Vol 5 Bartok(Boosey and Hawkes)

The Girl with the Flaxen Hair DebussyClassics to moderns, Bk. 5

Swedish Dance in F minor, No. 8 Bruch

Rumores de la Caleta Op.71, No. 6 Albeniz

Visions Fugitive, No. 10 ProkofiefKeyboard Anthology, 3rd. series, Book 5 (ABRSM)

Love Song, Micro jazz collection 3, level 5 Norton

My Heart Asks Pleasure First (The Piano) Nyman

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To achieve an accomplished standard of performance suitable forthis level. To broaden the student’s skills in musicality with furtherdevelopment of aural training, improvisation and keyboard harmony.To ensure a high level of sight reading to prepare the student to study more demanding works on their own initiative.To prepare students for further study in music both as performers and teachers.


• Be able to perform pieces of Grade 8 standard to a high level of accomplishment, to include some majorworks by some of the old masters together with works by contemporary composers.

• Demonstrate a high standard of technique to enable the performance of major works.• Show a high overall level of musicality in completing the tasks of this senior grade.• Illustrate a competence in sight reading and analysis to enable them to study major works from the repertoire

on their own initiative.• Demonstrate an advanced level of musicianship and theoretical knowledge to underpin performance at this

advanced level.• Demonstrate a thorough knowledge of harmonic concepts and their practical application to the keyboard.

Course Content:



(i) Scales:


• Major, harmonic and melodic minor scales, in the following keys: B, F, A flat, C sharp and F sharp, 4 octavesin similar motion, legato and staccato.

• Major and harmonic minor scales of the above keys, 2 octaves in contrary motion legato.• Major of the above keys a 6th apart, two octaves. Harmonic minor of the above keys a 3rd apart, two octaves.• Chromatic scales beginning on all the black keys hands together 4 octaves, legato and staccato. In contrary

motion on the same keys, 2 octaves legato only.


• Major and minor arpeggios of the above keys (B, F, A flat, C sharp and F sharp) in root position, 1st and 2ndinversions. Similar motion, 4 octaves hands together.




Pieces 1 20

2 20

3 20


31


• Dominant 7ths in the above keys (beginning on F sharp, C , E flat G sharp and C sharp respectively) in rootposition, 4 octaves, hands together.

• Diminished 7ths in the keys of all of the above (beginning on A sharp, E, G, B sharp, E sharp respectively).Similar motion, 4 octaves hands together.

(ii) Graded piano studies:


• Exercises Nos. 10 and 40 Czerny(Czerny Studies, Op. 299)

• Velocite (No. 10) Burgmuller(Burgmuller Studies, Op. 109)

• Spinning Song (No. 18) Burgmuller(Burgmuller Studies, Op. 109)

• From the Diary of a Fly Bartok(Mikrokosmos, Bk. 6)

• Around Midnight Kember(The Jazz Piano Master, John Kember, Faber Music)

• My Favourite Things Rogers & Hammerstein(The Jazz Piano Master, John Kember, Faber Music)

• Chase in C Haughton(More Rhythm and Rag, ABRSM)

(b) Sight Reading and Comprehension:

• To sight read a piece of a degree of difficulty suitable to this grade, hands together in any major or minor key.A high degree of accuracy will be expected.

• To answer general questions on the pieces prepared for performance.• To explain the structural form of the prepared pieces used by the composer, together with the key structure.• To give a short background on the composers of the prepared pieces. e,g. date and place of birth, type of

compositions etc.




• To sing the lower part of a two part phrase played twice by the examiner. • To recognise the final cadence of piece as either perfect, imperfect, plagal or interrupted. • To recognise a modulation from a major key to its dominant, sub dominant or relative minor.• Candidates will be given a copy of a short piece that will be played by the examiner. After a further playing

the candidate will be asked to point out where certain features occur i.e. crescendos, diminuendos, tempochanges and usual marks of expression that should be understood by the candidate.

32



Candidates may select the following test at the keyboard as an alternative to the aural tests above:

• To harmonise a four bar melody at the keyboard in the keys of C, G, D or F major, A or D Minor. • To harmonise a perfect, imperfect, plagal or interrupted cadence in the key of C, G, D or F major, A or D minor.• To compose an answering phrase at the keyboard to a given four bar melody in the key of C or G major, A or

D minor, of a higher standard than the previous grade.

(for examples of aural observation and keyboard tests refer to Teachers’ Handbook)

(d) Performance:

Performance of three pieces, two of which must be from the following list. The third piece may be taken fromthe list also, or may be a piece of similar standard of the candidate’s own choice.

Prelude in B flat major, Book 1 Bach

Fugue in D major, Book 1 Bach

Sinfonia No. 3 in D major OR No. 10 in G major Bach

Aria from Partita No. 4 in D major Bach

Gigue from Suite No. 8 in F minor Handel

Sonata in C, KP 159, L. 104 Scarlatti9 Sonatas (ABRSM)

Sonata in F minor, P 481 Scarlatti

Sonata in D, KP 512, Allegro Scarlatti

Sonata in A flat, 3rd Movement, Presto HaydnHOB XVI 46, No 4

Sonata in B flat, 1st Movement, Allegro HaydnHOB XVI 41

Sonata in D K. 284, 1st Movement, Allegro Mozart

Sonata in C minor, K. 457, 1st Movement Mozart

Sonata in E major, Op. 14, 1st Movement, Rondo Beethoven

Sonata in C sharp minor, Op. 27 No.2 Beethoven(1st OR 2nd Movement)

33


Nocturne in B major, Op.32, NO 1 Chopin

Nocturne in E minor, Op. 72 No. 1 Chopin

Nocturne in C sharp minor, No. 20 ChopinClassics to Moderns, Book 6

Waltz in A minor, Op. 34, No. 2 Chopin

Golliwog’s Cake Walk DebussyClassics to Moderns, Book 6

Prelude (from “La Cathedrala Engloutie”) Debussy

Octobre (Chant d’automne, No 10) Les Saisons Tchaikovsky

Petite poeme Op. 34 Gliere

Novelette in 4ths Gershwin

Romance Sans Paroles Op.17, No 3 FaureRomantic Real Repertoire

The Clare Fair arr. T.C. Kelly

Maple Leaf Rag (Original Edition) Joplin

Gladiolus Rag (From Piano Rags Book) Joplin

Bolero (from “Danzas Espanolas”) Granados

34


Recital Medal Repertoire

The recital medal repertoire is divided into three categories:

1. Junior Level covering grades 2-3. The programme should be approximately 6 to 8 minutes in length.

2. Intermediate Level covering grades 4-5. The programme should be approximately 10 to 15 minutes inlength.

3. Senior Level covering grades post Grade 5. The programme should be approximately 20 to 30 minutes inlength.

The choice of programme is the responsibility of the candidate and should reflect the minimum standard required.Candidates may select from the current syllabus but are encouraged to explore a broader base than that set for thegrades.

The exam will consist of the performance only and will be judged in accordance with performance standards. Markswill be awarded for choice of programme, technical ability, interpretation of the works performed, general presentationand stage presence.

Candidates should present a programme note and a copy of each piece to the examiner. Photocopies of the worksare permitted.

Marking scheme for all Recital Medal exams

(a) Technical ability 30

(b) Interpretation 40

(c) Overall impression and choice of programme 30

70 – 79 Silver Plated

80 – 89 Silver Green

90 – 100 Gilt

Mark Medal

35


Piano DuetsThe performance of the pieces is the only requirement for these examinations. There are three categories for pianoduets, Junior, Intermediate and Senior.

Junior Grade:

Candidates must prepare two pieces, one from list A and one choice piece.

List A:

Andante Cantabile Diabelli(Duets with a difference Book 1 O.U.P.)

The Irish Washerwoman arr. Pauline Hall(Duets with a difference Book 1 O.U.P.)

Donkey Ride Elsie Wells(Duets with a difference Book 1 O.U.P.)

March Wohlfahrt(Duets with a difference Book 1 O.U.P.)

No. 6 W. Tschirch(Classical Piano Duets, Spartan Press)

Nos. 9 Gustav Damm(Classical Piano Duets, Spartan Press)

Twinkle, Twinkle Little Star arr. Coulthard(Best Piano Duet Book Ever, Chester Music)

The Butterfly arr T. Hirao(Best Piano Duet Book Ever. Chester Music)

Choice piece:

One piece of a similar or higher standard to those of List A. Candidates may select their second piece from List A.

36


Intermediate Grade:


List A:

Pony Trap William Walton(Duets for Children ed. Michael Aston, O.U.P.)

Swing Boats William Walton(Duets for Children ed. Michael Aston, O.U.P.)

Casey Jones Pauline Hall(Mixed Doubles, Piano Time Duets, Book 2 Pauline Hall O.U.P.)

Norwegian Dance Greig(Mixed Doubles, Piano Time Duets, Book 2 Pauline Hall O.U.P.)

Ten Green Bottles arr. Pauline Hall(Mixed Doubles, Piano Time Duets, Book 2 Pauline Hall O.U.P.)

Berceuse Faure(Classic Experience Encores, Cramer Music)

Waltz of the Flowers Tchaikovsky(Classic Experience Encores, Cramer Music)

The Skater’s Waltz Waldteufel(Classic Experience Encores, Cramer Music)

Josephine Baker Runswick(Play Boogie Duets – Faber Music)

Choice piece:


37


Senior Grade:


List A:

Chanson de Matin Elgar(Duets you’ve always wanted to play – Chester Music) arr. Francis Shaw

Hark! Hark! The Lark Schubert(Duets you’ve always wanted to play – Chester Music) arr. Francis Shaw

Voi, Che Sapete Mozart(Duets you’ve always wanted to play – Chester Music) arr. Francis Shaw

Golliwog’s Cake Walk Debussy(Duets you’ve always wanted to play – Chester Music) arr. Francis Shaw

Spring Song Mendelssohn(Duets you’ve always wanted to play – Chester Music) arr. Francis Shaw

Turkish Rondo Mozart(Perfect Partners Vol 3 Fentone Music Ltd arr. Johnson

Arrival of the Queen of Sheba Handel(Classic Experience Encores, Cramer Music)

Waltz No. 15 in A major Brahms(Brahms Waltzs for 4 hands - G. Henle Verlag)

Norwegian Dance Op 35 No. 2 Grieg(Edition Peters EP2056)

Choice piece:


38


Appendix 1Choice piece

Students may choose ONE piece as an alternative to ONE piece on the recommended list for their grade. Please readthe following guidelines carefully.

Rationale for the choice piece

• Teachers are best placed to select the most appropriate repertoire to motivate their students.• Students can present repertoire learnt for other performance situations, such as concerts, competitions or

Junior and Leaving Certificate practicals.• It is recognised that there is no hierarchy of musical genres. Students may present music that is of personal

interest.• Popular music is ubiquitous, and part of today’s society. Young students who relate to it should have an option

of presenting it for assessment.• Traditional Irish music plays a significant part in the musical lives of many students, and this interest should

be reflected in the assessment process through the option of performance in this genre.

Selecting the choice piece

• Pieces presented must be of an appropriate standard, technically and musically, for the grade.• Most teachers can judge the appropriate level, but if in doubt, there are many graded repertoire books from

which to choose (see the following indicative list of suggested books– although the repertoire is not confinedto these)

• Students may present a piece from any genre (classical, folk, jazz, popular or traditional).• A copy of the music must be presented to the examiner on the day of the exam (students must have original

copies, but a photocopy may be presented to the examiner for the exam).• Sheet music from legal web sites may be used but must be licensed to the student or teacher.• Students will be penalised 5 points for presenting repertoire which is not deemed appropriate for the grade

level.• Students may not present the same choice piece for two different exams.• Own compositions will not be accepted.

Indicative list of suggested books for choice pieces

Up Grade! Light relief between grades Pam Wedgwood, Faber Music

After hours for solo piano Pam Wedgwood, Faber Music

Making the grades series Chester Music

Micro jazz series 1 – 3 Christopher Norton, Boosey and Hawkes

Essential Film Themes Wise Music

Hours with the Masters series Ed. Dorothy Bradley, Bosworth

Bastien Piano series Neil A Kjos Music Company

Classics to Modern series Consolidated Music Sales

30 Children’s Pieces Kabalevsky, Boosey and Hawkes

39


Appendix 2Teaching NotesLearning a musical instrument should be an enjoyable experience for the student. It is the responsibility of the teacherto ensure that the student should look forward to their weekly lesson at all times.

Care should be taken to cover all aspects of music on a regular basis. While it is difficult to incorporate each elementinto a weekly lesson it is not good practice to leave sight reading and aural training etc. until a few weeks before anexam. They should be all covered on a regular basis to ensure proper development.

PostureCorrectly sitting at the piano is of vital importance from the very beginning. Demonstrating correct hand position andbeing taught legato playing form the very basic elements of good practice for future performance.

RhythmRhythm is an essential element in all music. The inclusion of time names in our new syllabus as an aid to developingrhythm is an excellent stepping stone to rhythmic accuracy in the performance of a student’s set works.

Scales and Technique Scales and technique are imperative to the student’s musical development. The practice of scales, technical studiesand musical sentences should be an integral part of every lesson and of each daily practice session. Scale workdevelops good general coordination and finger technique which will benefit the student at all stages of their studies.

Aural TrainingAn astute ear should be fostered with the systematic development of aural training. From the early stages auraltraining should be developed and incorporated during the weekly lesson. It is important from the earliest stages thatthe student learns to listen correctly and progress in the development of pitch and rhythm. Listening to music awayfrom their studies helps develop the ear. Clapping through rhythms and excerpts of music, singing back parts oftunes, joining a choir, band or orchestra are painless ways to get in some aural practice between lessons.

Sight Reading Sight reading should be encouraged from early in the student’s development. Where students develop good sightreading habits they become adept at working on their own initiative and exploring repertoire themselves. If a studentsuggests a piece they would like to study, try as far as possible to encourage them if you think it is a wise choice attheir stage of development.

PerformanceIn the study of pieces care should be taken to have fingering and rhythm correct from the outset. If technique andscales etc. have been fostered in the early stages of the student’s development, they should have little trouble gettingfingering right in chosen pieces. Always try to incorporate some interpretation into pieces from the earliest grades.Phrasing, melodic line, dynamics and observance of tempo should be part of the study of all pieces.

Children from an early stage should be encouraged to play from memory. This develops confidence in performanceand enables the student to give their full attention to the details of dynamics, phrasing and general interpretationoverall.

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Appendix 3The ExamA teacher should remember that the first music exam is likely to be the student’s first exam experience. Every effortshould be made to have them as well prepared as possible for the event. All aspects of the exam should be coveredwell in advance of the exam date.

The exam serves as motivation and inspiration for the student. They work from a carefully structured syllabus towardsa definite goal. It is an assessment by an independent musician who has an objective viewpoint of the work.

• It is important for the teacher to check all the requirements in the current syllabus as details can changefrom time to time.

• Choosing suitable pieces for the candidate is very important, as each teacher is aware of the capabilitiesand individual needs and strengths of their pupils.

• It is recommended to encourage pupils to perform their pieces to a friendly audience (family, friends andother students) before the exam. Having little concerts a few weeks before the exam helps to dispel examnerves on the day.

• Careful planning of work throughout the year, especially the ancillary tests, helps to have a young child lessstressed about practice in the run up to the exam.

• Most candidates are nervous on the day and a cheerful, no fuss attitude from accompanying adults goes along way to relaxing the candidate.

Overall, the music exam should be an enjoyable experience and the result a just reward for the work done.

Appendix 4From the Examiner’s side of the deskIn assessing the candidate the examiner takes a number of things into consideration. Firstly, posture at the instrumentis of utmost importance, together with finger position at the piano. Accuracy of notes is expected and additional marksare gained by paying attention to the finer aspects of the music, namely, dynamics, melodic line, gradation of tone,tempo etc.

Most candidates are a little nervous on the day. Parents and teachers should not keep reminding the candidates ofthis as to do so will only make the matter worse. Making a sense of occasion out of the day helps dispel nerves.

To an examiner every mark has its own significance. It is intended that the comments will encourage and reflect themark.

It is worth remembering that the examiner can only comment on what they hear in the exam room, and theirassessment of the candidate is based on achievement and not potential.

All examiners want the candidates to do their best and although they are making assessments in a formal situation,it is important to remember that examiners are human too and always feel for the less confident performer and sharethe pleasure and satisfaction when all goes well.

Examiners are always aware that the achievement of the less talented candidate is sometimes more than that ofthose for whom music comes naturally.

Documents

LSMD PIANO SYLLABUS draft 2_Layout 1